Sleeping Beauty and the Sadeian Gothic
in Decadent Daughters and Monstrous Mothers
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter is concerned with bodying forth, or awakening, the spectral presence of the Gothic in The Sadeian Woman to realign its political and aesthetic matters. A dormant subject on the brink of womanhood, Sleeping Beauty is an exemplary Gothic daughter, whose body is subject to the disciplinary practices fictionalised by the Gothic castle as a locus of paternal power. Angela Carter confronts the deadly boundaries of the Sadeian body/corpus in The Sadeian Woman. However, Sadeian inflections of 'Sleeping Beauty' reappear through her fiction, most strikingly in The Infernal Desire Machines of Doctor Hoffman and The Bloody Chamber. Confronting the thorny hedges of the father's house, Carter unmasks the operations of the 'prick' that repeatedly put women to sleep in the Sadeian Gothic. Finally, the chapter explores the Gothic as a site for the intersection of Sadeian and feminist discourses of female victimisation.

Decadent Daughters and Monstrous Mothers

Angela Carter and European Gothic

Metrics

All Time Past Year Past 30 Days
Abstract Views 93 26 2
Full Text Views 34 11 0
PDF Downloads 19 7 1